« July 2007 | Main | September 2007 »
Last night on the podcast I talked about three new cameras recently announced by Canon and Nikon ... somehow the Canon 1Ds Mark III snuck in under my radar
A preview of this camera is available at DPreview
...and if you really need an $8000.00, 21MP camera you can pre-order it at Samy's Camera
In this episode I talk about the recent announcements from Canon and Nikon of some great new cameras. Canon's new EOS 40D us a great new addition to their lineup and is a significant upgrade from the EOS 30D. The 40D is perfect for the amateur, prosumer or as a backup body for pros. Nikon steals the show this month with two new announcements, the prosumer D300 and the super high end professional D3 which might make Canon 1D Mark III users green with envy.
Update:
In episode 36 I mentioned the fact that All hard drives eventually fail. Yesterday I had that theory proven to me. In my MacPro there are 3 hard drives ... the 3# drive, a 500GB SATA drive crashed so hard that it prevented my machine from booting up ... and it was not even the boot drive.
The good news is that I went down to BestBuy, got a new drive, slid it in the machine and then formatted it and then copied all my files from my backup. The entire episode cost me under $300 dollars ... and it only cost that much because I replaced the 500GB with a 750BG drive and a few hours time. I did not loose a single file.
So, I just wanted to make that point again ... hard drives will eventually fail. Be ready for that day.
Canon EOS 40D
The EOS 40D becomes the sixth Canon 'prosumer' digital SLR, a line which started back in 2000 with the EOS D30, and how far we've come.
It's been eighteen months since the EOS 30D and although on the surface the 40D looks like a fairly subtle upgrade there's a lot that makes this an even better camera.
Of course we expect a step up in megapixels, and so the 40D comes with a ten million pixel CMOS sensor with the same sort of dust reduction as the EOS 400D, an ultrasonic platform which shakes the low pass filter.
Other improvements bring the EOS 40D closer into line with the EOS-1D series, these include a move to the same page-by-page menu system, both RAW and sRAW (2.5 MP), 14-bit A/D converter and 14-bit RAW, cross-type AF points for F5.6 or faster lenses, a larger and brighter viewfinder,
interchangeable focusing screens,
a larger LCD monitor (3.0") and
faster continuous shooting (6.5 fps).
Canon 40D review on www.dpreview.com
Nikon D3
Nikon's answer to the Canon EOS 1D Mark III
Their first full-frame digital SLR, the new 12.1 megapixel D3. The D3 is all about speed and sensitivity, twelve megapixels on a big CMOS chip means large photosites (8.45 µm pitch to be precise) and that adds up to base sensitivity of ISO 200 to 6400 with an additional two stop boost over that (up to ISO 25600).
The other side of the speed story (apart from blistering AF and shutter lag) is that the D3 can shoot at 9 frames per second with AF tracking or 11 frames per second without.
Other headline features are a newly branded EXPEED image processor, a new 51-point AF sensor, color AF tracking, dual CF compartments (with UDMA support),
3.0" 922,000 pixel LCD monitor with Live View (including contrast detect auto-focus),
HDMI video output and even a virtual horizon function which can tell you when you're holding the camera perfectly level.
The D3 will be available in November, at around US$5000.
D3 preview at www.dpreview.com
Nikon D300
In addition to the FX format (Full-frame) D3 Nikon has also announced the new DX format D300 which also features a 12 megapixel CMOS sensor, 14-bit A/D conversion, EXPEED image processor, sensitivity up to ISO 6400 (with boost), the new CAM3500DX AF sensor (51 point), HDMI video output, UDMA CF support and last but not least the super-impressive 3.0" 922,000 pixel LCD monitor with Live View. No ordinary Live View either as this one supports Auto Focus in two ways; using the current 'normal' mirror-drop / mirror-raise but also contrast detect in the same way as a compact camera (although slower).
Speed and Performance
fast standard frame advance rate of 6fps (up to 8 fps with optional Multi Power Battery Pack). The D300 offers fast power-up, quick response and outstanding flexibility to meet the needs of a wide variety of photographic assignments. The D300 powers-up in just 0.13 seconds, with an almost imperceptible 45 millisecond shutter lag.
The D300 will be available in November, at around US$1800.
Amazon.com have published specs and an availability date for the new Canon EOS 40D
This thing is amazing ... I'm calling it the 1D Mark III Jr. I've placed my order already.
From the Manufacturer
Building on the success of Canon's perennially popular "prosumer" EOS 20D and 30D models, the EOS 40D advances the state-of-the-art for mid-range digital SLR cameras, making it a natural first choice for advanced amateur photographers and entry-level professionals, and an ideal second body for more established photo pros. Indeed, given the level of feature upgrades and improvements, technological wizardry, and user-requested creative controls, the Canon EOS 40D SLR's "prosumer" appellation may refer more to its accessible price point than to the exceptional quality, clarity, and resolution of the images it creates.
From the camera's newly enhanced, 10.1-megapixel CMOS imaging sensor (designed and manufactured by Canon) and its proprietary and super-efficient DIGIC III image processor, to its completely redesigned autofocus sensor and fast, 6.5 frame-per-second (fps) continuous shooting capability (for bursts of up to 75 Large/Fine JPEGs or 17 RAW images), the EOS 40D SLR puts the fun in functionality and makes serious photo business a positive pleasure.
Indeed, at 6.5 fps, no digital SLR in the EOS 40D mid-range class and price category has so high a continuous shooting capability, making it ideal for shooting--and actually capturing--speed-sensitive outdoor and wild-nature shots as well as a wide variety of action and sports scenes. The speed of the EOS 40D SLR comes from Canon's balanced combination of its latest processor, DIGIC IIII, DDR SDRAM high-speed memory, four-channel-per-line sensor readout, and two separate motors for shutter and mirror operation.
Display's the Thing
The most easily visible upgrade on the EOS 40D Digital SLR is the camera's larger 3.0-inch LCD screen (compared with the EOS 30D's 2.5-inch monitor). Still, size is only the beginning of the difference between these two cameras' displays. In order to increase viewing ease in outdoor conditions such as bright sunlight, Canon raised the brightness level of the EOS 40D camera's 230,000-pixel LCD screen, broadened the color gamut, and narrowed the viewing angle from 170 degrees to a still wide 140-degree perspective in all directions. An added advantage of the larger-sized display is the ability to use a larger font size for text, making it easier to read setting and menu options on the screen. The camera's menu is organized in the same tabbed format as the EOS-1D Mark III Digital SLR.
Canon extends its "ease-of-reading" policy to the EOS 40D SLR's viewfinder as well. The upgraded viewfinder increases optical magnification from 0.90x to 0.95x, expands the viewing angle from 251 degrees to 264 degrees and raises the eye point from 20mm to 22mm.
Enhanced Durability
Recognizing the often rigorous shooting conditions encountered by professional and advanced amateur photographers, Canon design engineers made the EOS 40D SLR's magnesium alloy exterior even more ruggedly dependable than its predecessors with upgraded dust- and weather-resistant construction, particularly around the camera's connection ports, battery compartment, and single-slot compact flash (CF) memory card door. Should the user inadvertently open the compact flash card door while the camera is writing to the card, a warning will pop up on the LCD screen and an open door "alarm" will sound, but the image(s) will continue writing to the memory card without interruption. The EOS 40D SLR also retains many of the outstanding features of the EOS 30D model, such as its fast 0.15-second initial start-up, its extremely durable shutter (rated up to 100,000 cycles), its top shutter speed of 1/8000 second, and 1/250 maximum X-sync flash shutter speed setting.
Improved Image Quality
Although it is based on the image sensor used in the EOS Digital Rebel XTi, the EOS 40D Digital SLR's 10.1-megapixel CMOS APS-C size image sensor has been significantly improved thanks to the use of larger microlenses over each pixel to reduce noise and expand sensitivity up to ISO 3200. The EOS 40D retains the model 30D camera's 1.6x focal length conversion factor (compared to full-frame digital image sensors or 35mm film) and is compatible with the full line-up of Canon EF lenses as well as the Company's expanding selection of high-quality, affordable EF-S lenses created specifically for Canon digital SLRs with APS-C size image sensors.
Adding to the improved virtuosity of the images captured by the EOS 40D SLR is the camera's 14-bit Analog-to-Digital (A/D) conversion process. Able to recognize 16,384 colors per channel (four times the number of colors recognized by the EOS 30D SLR's 12-bit conversion capability), the EOS 40D camera is able to produce images with finer and more accurate gradations of tones and colors. The EOS 40D also incorporates the optional Highlight Tone Priority and High-ISO Noise Reduction functions first introduced earlier this year with the EOS-1D Mark III Professional Digital SLR.
DIGIC III
DIGIC III is the latest generation of Canon's proprietary image processing engine. DIGIC III technology ensures that the fine details and natural colors of the images are optimally recorded and, as an added bonus, is also responsible for the EOS 40D SLR's high-speed performance, faster signal processing, and even its efficient energy consumption.
sRAW
In addition to retaining the RAW image capture capabilities of its predecessors, the EOS 40D SLR now offers a more manageable "sRAW" recording format. In sRAW mode, the number of pixels is reduced to one-fourth that of a standard RAW image and the file size is cut in half, while retaining all of the flexibility and creative possibilities associated with full-size, conventional RAW images.
Improved Autofocus and Exposure Control
While the EOS 40D SLR maintains the nine-point wide area AF coverage first introduced on the EOS 20D camera, Canon has made significant improvements to its speed, precision, and functionality, minimizing subject recognition problems in the process. The EOS 40D camera's completely redesigned nine-point AF sensor provides cross-type AF measurement at all nine focusing points for maximum apertures up to f5.6, and for the first time in any EOS camera, the central AF point offers enhanced precision for both vertical and horizontal subject contrast when using EF or EF-S lenses featuring maximum apertures of f2.8 or faster. AF calculation speed with the EOS 40D camera is 30 percent faster than the EOS 30D model.
The Canon EOS 40D Digital SLR retains the same 35-zone metering sensor as its predecessor. Available patterns include Evaluative metering, which is linked to all AF points and is set automatically in the Basic Zone modes, Centerweighted average metering, Partial metering, and Spot metering, covering approximately 9 percent or 3.8 percent of the viewfinder at center, respectively. The camera's E-TTL II autoflash and 12 exposure control modes (11 AE modes plus manual) are also unchanged from the EOS 30D SLR model. However, as a result of consumer input, Canon has added three Custom exposure modes. As an added convenience, particularly for wireless flash operations, users can adjust the flash settings of the Canon Speedlite 580EX II directly from the camera.
The Canon EOS 40D camera offers ISO speeds from ISO 100 to ISO 1600 in 1/3-stop increments. Users can also opt for a high-speed setting of ISO 3200. For the first time in any EOS camera, the 40D model offers Auto ISO capability in Creative Zone exposure modes. This valuable new feature adjusts the ISO speed to the optimal setting based on low light or shaky shooting conditions. Additionally, the EOS 40D provides full-time display of the active ISO speed setting, both in the viewfinder as well as on the top LCD data panel.
The Canon EOS 40D Digital SLR is also the first camera in its class to offer two interchangeable focusing screens in addition to the standard precision matte screen. Users can opt for a grid-type focus screen that makes it easier to verify horizontal or vertical alignment while determining image composition, as well as the Super-Precision Matte focusing screen that makes it easier to grasp the "sweet spot" of manual focusing when using a lens with a maximum aperture of f2.8 or faster.
Enhanced Live View
Previously the province of the EOS-1D Mark III DSLR (one of Canon's top-tier professional cameras), the Live View function now gives EOS 40D camera users an expanded and exceedingly convenient and comfortable set of shooting options. By permitting the framing and capturing of subjects using the camera's LCD screen instead of the viewfinder, the shooter gains a 100 percent field view to more easily achieve the desired composition. A new Custom Function on the EOS 40D allows autofocus during Live View by pressing the camera's AF-ON button. At that point, the reflex mirror goes down and AF is carried out in the normal way. Letting go of the AF-ON button resumes Live View functions. Also, in the Live View shooting mode the user can magnify the image by five or ten times in order to ensure that the shot is optimally focused. Live View is at its best during tripod shooting--particularly for close-up photography where precise focusing is imperative. As a side benefit, the Live View shooting mode helps to reduce vibration by lifting the reflex mirror out of the optical path well in advance of the exposure, improving image quality at slow shutter speeds. A new electronic 1st-curtain shutter function in Live View mode reduces release time lag and operational noise even further to avoid spooking wildlife or disturbing people nearby with unwanted camera sounds. Additionally, as the release time lag is miniscule, even instantaneous movements like a bird taking flight can be readily captured.
EOS Integrated Cleaning System
First introduced on the EOS Digital Rebel XTi camera, the EOS Integrated Cleaning System is a prime example of trickle-up technology and is now becoming a standard feature on all new EOS Digital SLRs. The camera's Self-Cleaning Sensor Unit uses ultrasonic vibrations to literally shake dust particles off of the low-pass filter in front of the sensor each time the camera is powered up or shut down. Users also have the option of engaging the "clean now" function at will or bypassing it altogether. Additionally, the EOS 40D SLR's manual sensor cleaning function raises the mirror and allows users to clean dust that has stuck to the low-pass filter. Dust that has been shaken or blown loose is then trapped by adhesive at the base of the sensor unit housing, preventing the problematic particles from reattaching themselves to the filter when the camera moves. The second part of the cleaning system is a software solution that maps the location of any spots that may remain on the sensor. The mapped information is saved as Dust Delete Data and attached to the image file. Subsequently, the offending dust information is subtracted from the final image during post processing with a compatible personal computer, using the supplied Digital Photo Professional software.
Improved Software
Among the most valuable features of the Canon EOS 40D Digital SLR is its compatibility with Canon's Picture Style Editor (PSE) 1.0 software. With PSE, shooters can actually design the look of their photographs by inputting their own preferred style, color, and tone curves. The EOS 40D Digital SLR also ships with the latest versions of Canon's powerful software applications, including Digital Photo Professional 3.1 and EOS Utility 2.1, which now support the camera's Remote Live View and Dust Delete Data functions, as well as incorporating a broad range of additional improvements designed to improve image quality and speed up workflow. Also included are ZoomBrowser EX 5.8 and ImageBrowser 5.8 for easy browsing, viewing, printing, and archiving with compatible computer operating systems, including Microsoft Windows Vista and Windows XP, as well as Mac OS X.
Accessories (Not Included--Must be Purchased Separately)
New system accessories for the EOS 40D SLR include the redesigned high-capacity Battery Grip BG-E2N, which facilitates high-volume shooting and easier vertical shooting. Compatible with up to two BP-511A battery packs or a set of six AA-size batteries, the battery grip approximately doubles the number of shots that can be taken, compared with the battery power of the EOS 40D SLR alone. The BG-E2N grip features new sealing material around the battery compartment to better resist water and dust. The new model replaces the original BG-E2 grip and is compatible with the EOS 20D, 30D, and 40D models.
Designed exclusively for the EOS 40D SLR, the new Wireless File Transmitter WFT-E3A permits wireless transfer and back-up, as well as remote control of the camera in Live View mode. It can also be connected to various GPS receivers or Hi-Speed USB 2.0 external storage devices such as convenient flash drives or high-capacity hard drives with much larger storage capacity than the memory cards in the camera for instant back-up as images are captured. Compact and affordable, the WFT-E3A wireless transmitter also doubles as a vertical grip and requires its own BP-511A battery pack in addition to the battery installed in the camera body.
Amazon is claiming to have Mark III's in stock .... if you don't mind paying a $1000 premium.
There are two applications that are important to my podcasts, Garage Band and iWeb.
I use Garage Band to actually make the podcast and then I publish it to my website using iWeb.
Well, this week the '08 versions of iLife and iWork came out, and of course I'm such an Apple fanboy that I bought both of them right away.
Garage Band '08 works great but iWeb completely changed the way they structure websites upon publishing them (meaning the file structure and hierarchy).
So now all my podcast files are located in a different directory on my server than they previously were. As a result iTunes (and probably other readers) think they are all new podcasts and should be downloaded AGAIN.
If your iTunes library now looks like this,
I think the easiest solution is to delete the files you have already downloaded (every other file on the list probably) and let iTunes get the "new" ones.
I'm sure this will be a pain in the backside and it will take some time to get all the "new" podcasts ... but I think it's the easiest solution to avoid having doubles of every episode.
Note: the other option is to delete the podcast entirely from your iTunes library and resubscribe ... but don't forget to resubscribe :)
Subscription links are below:
http://feeds.feedburner.com/digitalphotopodcast
http://feeds.feedburner.com/videodigitalphotopodcast
http://feeds.feedburner.com/10fps
Sorry about this ... Call Apple if you want to complain :)
In video podcast number 7 I demonstrate a technique for taking a full color image and selecting a small area of the image to remain in color while turning the rest of the image into a black and white image.
You can subscribe to the video version of the podcast at http://feeds.feedburner.com/videodigitalphotopodcast
In this episode I explore the controversial topic giving your work away in order to gain publicity and make a name for yourself. Does this practice work? Will it help you make a name for yourself?
I also discuss the new segment on "Starting A Photography Business"
To see what's been started with my new business please go to California Sports Photography
Full text from the podcast below....
Devaluing Your Own Work
Some people think "I'll give away my images to get my name out there and gain some recognition... and then I'll start selling my images after I have a reputation in the industry".
Meanwhile you are devaluing your own work by giving it away. What do you think a magazine or newspaper is going to say if you've been giving away your work for months or years and then suddenly you say "now it's $250 per image" ... they are going to say "you're joking, this image is no different than the one you gave us for free last week ... why is it worth so much more?". ... and who could blame them for feeling that way.... after all, last week you were nobody, now suddenly you are a professional demanding top dollar for your images????
Another rationale some photographers us is to say "well, I already have all gear, I'm out taking photos anyways, I enjoy doing it ... why not give some images away". I suppose that makes sense ... I've always wanted an original oil painting in my living room ... I think I'll go talk to an artist ... he should give me one for free because he already has the canvas, the brushes and the paints ... and he seems to enjoy painting ... how could he argue? And of course I'll show the painting to all my friends and tell them where I got it, I'll probably tell them where they can go get their free paintings too.
So many people giving images away for free is causing publishers to lower or eliminate their budgets completely.
I actually speak from experience on this topic.
Many years ago I had a nice photo that I thought my local small town newspaper would like to have ... I sent it to them and they liked it, I asked how much they pay for images and they responded $10 ... I thought this was very low but I thought, What the hell, I'll get some publicity.
I went to their office, filled out the proper tax paperwork for independent contractors so that I could continue to provide them with images and they could pay me. About a week later a check arrived for $10. After that initial photo was published I supplied the paper with about 7 or 8 more images over a few months period of time ... however the checks did not continue. After many emails and letters to the editor I was told by someone down the chain of command a bit that "they do not pay for images any more".... "they have lots of people sending them in for free".
Since then my emails to the editor have gone unanswered. So, for $10 they got about 8 images, most of them ended up on the front page. I'm left with $10 and a lesson learned.
In another more recent situation I came across a horrific accident scene on the freeway just moments after it happened. A truck was traveling east on the freeway and the driver must have fallen asleep and the truck crashed into a bridge support ... the truck was ripped apart as if it was made of paper, the trucks engine continued traveling eastbound many dozens of yards before it came to rest. The twisted wreckage was barely recognizable as a former truck ... but somehow the driver was alive and responsive. I got some incredible photos of the rescue workers getting the driver out of the remains of the truck's cab and loading him into the waiting ambulance. As the first one on the scene with a camera I was the only person to get these shots ... the local news vans arrived after the driver was whisked away to the hospital. I immediately went back to my truck and called the newspaper (not the one from the last story, a much larger Palm Springs based paper) and I was Immediately transfered to the photo desk ... boy were they excited about my images and they really wanted to see them as soon as possible. Then I asked the important question "how much do you pay for images". Then I was told that they don't pay for images ..people send them in for free.
So you see when people send their photos to the newspaper just to get a little publicity they are really stepping on the toes of people that hope to make a living taking pictures. When you give your photos away for free hoping to make a name for yourself ... you are making a name for yourself... you are that guy or gal that gives your images away for free ... that's how they know you ... they don't know you as Frank or Sam or Betty, the great photographer, they know you as free photo dude or free photo gal ... that's all they care about.
Remember, if someone contacts you to ask for the use of one of your images it's because they like your image and they want it and chances are they will pay for it if it's to be used for a commercial purpose. So if you set a fair and reasonable price for your image it will reinforce your professional image ... and even if you walk away from the negotiation you will most likely have the respect of the person you were dealing with and they may eventually call you someday when they are seriously interested in purchasing an image from a professional photographer .... not some random person off the street with a camera phone. ...or they may even go get the budget to buy your image and call you right back saying they really want it and are willing to pay. Some people are uncomfortable with this type of negotiation, they think it makes them seem mean or unreasonable ... quite the contrary, you are dealing with businesspeople, they negotiate for everything ... most likely they will expect this. Think of it as a game if you want ... you've got nothing invested and nothing to loose, have fun with the negotiations ... if you end up selling the image in the end ... you won .... but not only did you win, but your client won also ... after all what did they want? your photo! They got it... they won. Everyone is happy.
There are some exceptions to the "don't give away your images" rule. I'll give images to charities that I support for use in their marketing materials, possibly non profit organizations (although sometimes they have pretty healthy budgets themselves), schools or community organizations ... you can expand this list with your own worthy recipients .... my policy of not giving anything for free applies to commercial ventures that designed to make a profit. After all if I call my local newspaper and say "I saw your paper, I really liked it, can I have a subscription?" They would promptly take all my information INCLUDING my credit card number ... I certainly would not get it for free.
To include photo business segment or not?
I got 22 responses and 21 of them said yes. Most of them offered very good advice on what to do and what not to do and I'm taking them all into consideration.
I want to thank you all for your well thought out responses to my question ... even if I did have to bribe you with a contest :)
Contest results
As I said there were 22 responses, I organized them in my mail program in alphabetical order, I want to random.org and used their random number generator to generate a number between 1 and 22 ... the number I got was 17. That number belongs to Milt Anglin. ... I'll be emailing Milt after this show to get his address so that I can get the book sent to him.
Thanks again to everyone for participating.
Based on the comments I got from everyone I've decided the following.
The "Starting a Photo Business" segments will be placed at the end of the episodes that they appear in, this way if you really don't want to hear about this topic you can stop at that point ... of if after a while it starts getting boring for you you can stop listening to that part of the podcast. I'm pretty sure that these segments will not be included every single week, but they will be at least a few times a month.
I will be staying focused on the aspects of starting a photo business that matter ... planning, marketing, equipment acquisitions, specific techniques that work and those that don't work, problems I run into and how I get past them and stuff like that. You will not have to hear about minor details of setting up an office, what color I choose to paint the bathroom walls, what sort of mailbox I decide to buy .... I'll just try to stick to things that matter and are somewhat interesting.
So, with that out of the way I'll say goodbye to those that are leaving us now and I'll get into the first episode of Starting A Photography Business.
This week I just want to fill you all in on what it is that I'm doing. In the next few weeks I'll get you all caught up with the progress up till now.
I have started an event photography business with an emphasis on youth and adult sports.
The way the business works is very simple ... I show up at a sporting event with a second shooter and an assistant. We shoot the game, the athletes and perhaps a team shot or two. Though various marketing methods that I will explain in upcoming episodes, the athletes, fans, parents, friends and relatives in attendance are made aware that they can go to our website that evening and shop for professionally lab printed photos in various sizes and any quantity they want from 1 to a zillion. The website features search capabilities, watermarked sample images and full shopping cart and secure checkout.
I am far from the first to do this type of business, people all across the US and and I assume other countries are doing it and from all reports it is a very profitable and lucrative business to be in. Parents, grandparents (in the case of youth sports) go crazy buying photos of their little angles banging heads with other kids on the field.
And spouses (in the case of adult sports) buy images of their husband or wife participating in sports. And at the college level a lot of parents and grandparents are still buying photos of their kids.
So you can see what I meant when I said that I will not be using this podcast as a marketing tool to push my services on you guys ... unless you live in my area and have friends or family members in sports. I really wanted to do this segment because a lot of what I'll talk about applies to a lot of different types of photography businesses ... or any business for that matter. I also think that a few of you might choose to follow along and copy what I do and start your own local sports photography business.
You may have noticed at the beginning of this segment I didn't say I started a Sports Photography business, but I said I started an Event Photography business ... this is because I think there are opportunities in other areas that are similar to sporting events but not really considered sports ... like community events, Car shows, Air shows, and things like that. and I did not want to limit myself to strictly sports.
Well, that's about as far as I'll go this week. You can check the progress I've made on setting up the website at www.californiasportspics.com ... you can even browse the three sample event galleries that I put online for testing purposes ... you can even go through the checkout process if you want ... but be warned, it's armed and operational ... if you check out you will be charged and you will get some prints in the mail.
Also released today is Aperture v1.5.4 which addresses compatibility issues with iLife 08 and iWork 08. I do not know if there are any other changes or tune-ups in this release.
Available today via Software Update.
Attention Mac users.
Today Apple sneaked out iWork and iLife 08. We were expecting this to be released in October with Leopard. Does this mean Leopard is not far behind? Who knows?
You can order these suites today at Apple.com
This week I talk about my digital workflow. I am using Apple's Aperture on a MacPro, but most of what I discuss is applicable to other software packages on Macs or Windows.
Podcast can be downloaded at http://feeds.feedburner.com/digitalphotopodcast
Discussed in this episode:
Apple's Aperture
Adobe Lightroom
About this podcast: Tips, Tricks, Techniques for the digital photographer. Learn how to create better digital photographs using your digital camera and digital post-processing software like PhotoShop, Aperture and others. News about the latest cameras and software including reviews of new products for the digital photographer. This podcast is presented in plain English for everyone from the amateur to the working professional.
I've recently added my podcast to the Yahoo Podcast directory.
Please take a second and enter a review for the podcast HERE
Thanks a lot
